Van Cliburn – Sonatas by Barber and Prokofiev

★★★★

   In the history of music sonata was a form of many different aspects. It went by centuries of evolution before it reached the position of the crowning achievement in a field of solo music expression. In earlier history its name was familiar but associated to some less complicated constructions. It was in the classical period when sonata has been established as most complex and balanced form of European music. Powers of solo sonata were extraordinarily significant and showing explicitly the versality and deep psychological means of sonata form in works composed for solo piano and other instruments. In solo music sonata was the same as symphony in orchestral repertoire. No wonder this classical form was constantly composed and performed also in next centuries. After great historic achievements of romantic sonatas, 20th century was also great time for many sonata masterpieces.
   Most of sonatas written in 20th century were classified as belonging to the current of neoclassicism. Even single sonatas can be pivotal to creative output of many 20th century composers like Bartok, Stravinsky, Ives, Copland, Berg, Rzewski, Shostachovich, Ginastera, Dutilleux and many others. It’s like sonnet in poetry, no matter, romantics or modernists, almost all have to confront with this classical form. Others like Scriabin, Hindemith, Schnittke or Boulez have leaved more sonatas marking their artistic successes. One of greatest masters of classical forms and one of greatest composers of 20th century was Sergei Prokofiev. The number of nine piano sonatas in his catalogue speaks for itself. Conclusive piece for creating his individual composing style was Piano Sonata No. 6 op. 82. This was also the first moment since Prokofiev returned to Soviet Union, when his composition was under fierce attack of critics for its formalism.

Van Cliburn Two – Two 20th-Century Masterpieces (1971)

   The absolute music idea was as much implemented in sonata form as far from realistic music esthetics of Soviet Union. In 1940 even the title was provoking. Prokofiev didn’t compose sonatas since his 5th Piano Sonata C Major op. 38 (1923), but after 1936 when he settled in Moscow, he has gradually returned to the idea of contemporary composition using classical forms. In autumn 1939 he started working on three compositions called War Sonatas. 6th Piano Sonata A Major op. 82 was premiered April 8th 1940 by composer himself. Next two were premiered by Sviatoslav Richer (1942) and Emil Gilels (1944). With four-movements construction, where 1st movement is basing on double tonality A major and A minor, middle movements have elements of march and waltz rhythmic patterns and closing rondo uses material of 1st movement, this sonata was enough absolute to be immediately attacked for its formalistic attitude. Ironically for his 7th Piano Sonata B-flat Major “Stalingrad” op. 83 Prokofiev has received Stalin Prize.
   Neoclassicism in music was trend wide spread and recognized as one of dominating tendencies in the first half of the century. In fact it was predeceased by many works of postromantic composers and in many occasions it was alive also in postwar music. Tendency was so strong even most radical avant-garde composers composed some sonatas for dramatic and structural qualities. Some were trying to use some features of classical style as a reaction to romanticism and its emotional instability. In group of American composers of 20th century sonatas the most widely recognized one was Samuel Barber (1910-1981). He started with Violin Sonata (1928) presumably destroyed by composer, four years later he published Cello Sonata (1932) and in 1949 he composed Piano Sonata E-flat Minor, Op. 26. In four movements with fugue in closing Allegro con spirito, Barber’s Sonata combines historic forms and virtuosity with chromatic material and serial technique. Premiered by Vladimir Horovitz this extremely difficult work in a short time became one of most famous contemporary works.
   When in 1971 Van Cliburn published album with his interpretations of masterpieces of famous 20th century neoclassical composers, he chose and performed sonatas by Sergei Prokofiev and by Samuel Barber. He was already familiar with these works, performing them on different occasions, during life concerts and in studio recordings. Album was published by RCA as Two 20th-Century Masterpieces and it comprises precise, balanced in sound and expression performance of Prokofiev’s Sonata along with one of most focused and energetic interpretations of Barber’s Piano Sonata. Natural touch of virtuosity, deep intellectual understanding of neoclassic and neoromantic powers of sonata form, and last but not least sense of humor and emotional involvement make these performances just electrifying. Four stars for artistic and intellectual qualities of this great album.

Van Cliburn – Tchaikovsky Piano Concerto No.1

   The Piano Concerto No. 1 in B-flat minor, Op. 23 is top rated concerto in the history of music and the one that made Tchaikovsky so famous composer. Of course the list of composer’s real achievements is much longer, there are some compositions of bigger importance in history of music, like last three of his symphonies, ballet Swan Lake or opera Eugene Onegin, but this is the one always on top of the lists of best selling records and live performances. His first piano concerto Pyotr Ilyich Tchaikovsky composed between November 1874 and February 1875. Next two concertos for piano, 2nd in G major composed 5 years later and 3rd in E-flat major, published posthumously by Sergei Taneyev, and did never reach the level of popularity even close to the famous B-flat.
   Tchaikovsky’s Piano Concerto No. 1 is one of the most frequently recorded compositions in the history of music. Since Vladimir Horowitz and Arturo Toscanini recordings in forties, it became a kind of requirement every great pianist has to record this composition. Long before the war Russian piano school as well as many piano virtuosos abroad established this work as a part of basic concert repertoire. And since 1958 every four years International Tchaikovsky Piano Competition was festive occasion for developing ideas associated with Concerto B-flat minor. Among great number of different recordings connected to Moscow festival, the one made by Van Cliburn with Kiril Kondrashin sounds very special, deep, and soulful and has hard to ignore historical background.

Van Cliburn – Tchaikovsky Piano Concerto No.1 (1958)

   In 1958, during the heights of Cold War, started the quadrennial International Tchaikovsky Piano Competition started in Moscow. The first winner of this competition and international sensation turned out young, 23 years old pianist from United States Harvey Lavan “Van” Cliburn Jr. His performance of Tchaikovsky’s Piano concerto B-flat minor with Moscow Conservatory Orchestra and Kiril Kondrashin caused the burst of enthusiasm of the Moscow audience. In subsequent months, the American pianist and Russian conductor had a concert tour all over the U.S. and recorded for RCA. The same year they recorded Tchaikovsky’s Piano concerto with RCA Symphony Orchestra. This recording won Grand prix du disque of Acacémie Charles Cros in Paris and was published by RCA branches in Canada, France and Germany and get platinum status.
   Performance of this concerto is example of brilliant cooperation between soloist and conductor. Pianist joints technical excellence, interpreting skills and pure romantic feeling. Orchestra is precise and gives soloist enough space and solid ground for creating his own vision of this dramatic musical narration. Van Cliburn plays with brave expressive dynamic contrasts and perfect articulation what makes piano sounds heavier than usually and more symphonic than orchestra itself. Sometimes one can feel Kiril Kondrashin lead the orchestra in some kind of loosy way, but maybe it was the best for pianist, who is so much focused on piano any accompaniment can be enough to balance his multidirectional rendition.